appreciation of these larger principles of criticism as applied to the study of Art. People look at the pictures which hang round their walls, and have an awakening suspicion that there is more in them than meets the eye—more than mere connoisseurship can interpret; and that they have another, a deeper, significance than has been dreamed of by picture dealers and picture collectors, or even picture critics. II. OF THE DISTINCTION TO BE DRAWN BETWEEN THE DEVOTIONAL AND THE HISTORICAL SUBJECTS. At first, when entering on a subject so boundless and so diversified, we are at a loss for some leading classification which shall be distinct and intelligible, without being mechanical. It appears to me, that all sacred representations, in as far as they appeal to sentiment and imagination, resolve themselves into two great classes, which I shall call the DEVOTIONAL and the HISTORICAL. Devotional pictures are those which portray the objects of our veneration with reference only to their sacred character, whether standing singly or in company with others. They place before us no action or event, real or supposed. They are neither portrait nor history. A group of sacred personages where no action is represented, is called in Italian a ‘_sacra conversazione_:’ the word _conversazione_, which signifies a society in which there is communion, being here, as it appears to me, used with peculiar propriety. All subjects, then, which exhibit to us sacred personages, alone or in groups, simply in the character of superior beings, must be considered as _devotionally_ treated. But a sacred subject, without losing wholly its religious import, becomes historical the moment it represents any story, incident, or action, real or imagined. All pictures which exhibit the events of Scripture story, all those which express the actions, miracles, and martyrdoms of saints, come under this class; and to this distinction I must call the attention of the reader, requesting that it may be borne in mind throughout this work.